SOUND ON SOUND
Most of the time, inspiration doesn't so much strike as go on strike — so what can be done to coax it back to work? Paul White proffers a few suggestions.
When it comes to cabling, it pays to have the right connections. Paul White makes the introductions.
A true understanding of any piece of studio gear only comes after using it for months, or even years. 1995's Reader Survey suggested that more features would be welcome from people with such 'Long-term' gear experiences, so, in the first part of this occasional series, Janet Harniman-Cook reveals the truth about her PC sequencing and digital recording setup.
Martin Russ continues his look at computer busses and reports back from the recent Apple Expo show.
The information superhighway, the 'Net, you name it, the hype just goes on and on... Ofir Gal finds out how music-making Atari users can join in the fast lane.
Following the demise of the Windows MIDI Mapper under Windows '95, Brian Heywood considers ways of setting up alternative MIDI patch maps on your PC, and looks back on his personal favourite products of 1995...
Paul Overaa goes behind the scenes at Tangent Music and discovers a rather unusual Amiga connection...
There's more to gating than just getting rid of unwanted noise: the humble noise gate is capable of truly creative studio trickery. David Mellor reveals some of the unusual uses for your Drawmer DS201, but if you don't own a DS201, don't despair: these tips can be adapted for most good quality gates.
Having come a long way from its humble beginnings in the early n-n-n-n-nineteen eighties, sampling is now an integral part of music making. Paul White explains what samplers do and how they can be used.
Buying your first synthesizer can expose you to apparently meaningless technical specifications, conflicting advice, and overwhelming technical jargon. Confused? You won't be, after reading Derek Johnson & Debbie Poyser's plain English guide to making the right choices.
Noise reduction comes in various guises, with Dolby alone offering five different systems. Paul White explains the difference between Dolby, dbx and a bag on your head...
In these days of practically unlimited MIDI sequencer tracks, just eight tape tracks can seem frustratingly few. David Mellor passes on a few tricks to help 8-track users expand their recording horizons — including how to get 20 tracks from 8...
The Atari range has undeniably been somewhat neglected in the race to produce the hardware and software necessary for integrated hard disk recording on today's computers. Ofir Gal takes a look at a German company who are determined to keep the Atari flag flying.
Accurate monitoring is a must in the recording studio, but the perceived level of bass depends on where you are standing and where the speakers are positioned. Paul White explains why in audio, a boundary literally means a six.
Brian Heywood browses the World Wide Web, and takes a look at the latest CD-ROM writer from Yamaha.
Paul White looks at the benefits of using a multi-port MIDI interface.
Martin Russ follows up last month's article by Nick Rothwell on using MIDI with modern dance by asking: how exactly does he do that?
Approaching re-entry into the atmosphere, Simon Millward concludes his tour of the Cubase universe with a look at some of the flagship sequencing package's lesser-known functions.